Image Image Image Image Image Image Image Image Image Image

troublemag | March 29, 2017

Scroll to top


Loading images...

Listing State SA

Anne & Gordon Samstag Museum of Art

55 North Terrace Adelaide 5000

The Ocean After Nature – 3 March – 9 June 2017
Countercurrents – 3 March – 14 April 2017

“…The Ocean After Nature is like a diver, breaking the surface to plumb the depths of our perceptions.” Wendy Vogel, Frieze magazine, 2016

The Samstag Museum of Art is delighted to present two special exhibitions for the 2017 Adelaide Festival of Arts. The Ocean After Nature and Countercurrents feature the work of twenty-three Australian and international artists and collaborations, exploring our relationship with and connections to the oceans through new media, sculpture, installation, painting and photography.

Presented in partnership with Independent Curators International, New York, The Ocean After Nature reflects on the complicated planetary effects that humanity and the oceans have on each other today. In response to that project, the Samstag Museum of Art has invited a number of artists – each with a connection to Australia, New Zealand and/or the Pacific Islands – to probe the unique implications of this complex relationship for our region in the compelling Countercurrents exhibition.

The Ocean After Nature features work by Allan Sekula & Noël Burch, as well as Rosa Barba, Ursula Biemann, CAMP, Yonatan Cohen & Rafi Segal, Mati Diop, Maria Domenica Rapicavoli, Drexciya, Peter Fend, Reneé Green, Peter Hutton, Hyung S. Kim, Manny Montelibano, Deimantas Narkevicius, The Otolith Group, Ulrike Ottinger, Supersudaca and United Brothers.

Countercurrents features the work of Daniel Boyd, Baden Pailthorpe, Alex Seton, Fiona Tan, Angela Tiatia, James Tylor, and Ken & Julia Yonetani.


12 Compton Street, Adelaide 5000

Showing 2 February – 18 March 2017
Opening – 5:30pm Wednesday, 1 March
Artist Talks – 6:00pm


In her realisation of Umberto Eco’s essay On the Impossibility of Drawing a Map of the Empire on a Scale of 1 to 1, Sara Morawetz explores the boundaries that exist between the real and its representation, examining the inherent complexities and logistical absurdities of working at a life-size scale. 

Making a map on a scale of 1:1 is clearly a useless exercise – yet in a digital world – where maps have been reduced to the size of our screens and have lost all sense of physicality, the impossibility of representing the real becomes an alluring proposition, challenging our expectations of objects that signify. 

This is the second iteration of her project 1:1 (After Umberto) in which Morawetz intends to map an Artist Run Initiative in each state and territory of Australia – gradually ‘mapping over’ each space she will eventually create a colonial territorialisation of the empty yet loaded ‘space a gallery represents.


Zoe Brooks’ work encompasses a broad range of media including painting, drawing, video and performance. Her work can be positioned within the contextual framework of community art where she explores belief systems and the extremities of human behaviour. Brooks is interested in facilitating encounters where art can happen by working collaboratively with minority groups such as religious extremists, spiritual healers, faith followers and social outsiders in creating authentic art experiences.

Healing in the Midst of Fear is a painting-based conversation between Justin and Zoe. Justin considers his paintings to be tangible creations of his faith. He practices his art under the name JR Faith Creations with a desire to express his faith filled dreams and visions through visual images and bible verses–where he works through the night until he feels peace in his heart.

Justin’s desire is to give glory to God for his art gift.

FELTDARK: RENUKA RAJIV (INDIA) – exploration in motion
Screening from 8pm Wednesday, 1 March
FELTdark is viewable: Wed – Sat: 7pm – 12pm

exploration in motion is a series of images that have been fragmented and reassembled to create a work in time. It is a work in progress for sure. What has been interesting in dragging the drawing process out is how much time it has given to think while working. It has allowed for changes, additions and decisions that would certainly not have happened if these drawings hadn’t been staggered in this way. The latter has also produced some pretty awkward rhythms and formal imperfections. For someone like me, who’s been invested in drawing, this certainly makes me insecure about the latent quality in my work. But i still have to share what is revealing and unflattering i suppose.